After the October Revolution, the artist lived in the Crimea for two years, then a year in Tiflis and Baku, after which he emigrated to France – his path lay from Batumi, through Marseille, and in 1919 the artist moved to Paris. There he becomes a set designer: he collaborates with the Bat and Balaganchik theaters. The whole activity of these theaters was due to Sudeikin. D.Z. Kogan, who studied the heritage of the artist, notes that the creative principles of the artist largely influenced and determined the activities of the theater. “Here is a light genre with a claim to the meaningful“ fooling ”, and stylization, and lightweight grotesque, and the sharpness of shifts and displacements, and confusion of theater and life, truth and lies, and the combination of earthiness and sublimity. The sketches and programs designed by him were popular among Russian emigration mainly due to the “Russian national style”.
In Paris, draws ballet performances for the troupe A. Pavlova (ballet “Fairy Dolls” and “Sleeping Beauty”). Participates in the Russian group exhibition in the Paris gallery “Dancy”. Continue reading
The problem of including the artistic heritage of Russian emigration in the concept of the development of Russian art of the 20th century in our days does not cease to be relevant. The contribution of individual representatives is still insufficiently studied, since it is often complicated by the fragmentation of collections – the exhibits not only adorn the collections of European or US museums, but are also in private collections, from time to time becoming top positions of the world’s leading auction houses.
The artistic process after the Revolution of 1917 turned out to be broken in two – part remained in Russia, the other began to develop in emigration. It is impossible to say unequivocally that there were no similar mass exodus in the world history of art. There were a lot of examples when artists worked in a different national environment, and one of them is the formation of the international school of Paris. However, for artists from other countries, participation in it can only be considered a line in his personal biography. Continue reading
The artistic association “World of Art”, formed at the beginning of the 20th century in Russia and partly emigrating after the Revolution, united such artists as artists L.S. Bakst, A.N. Benois, Somov K.A., Dobuzhinsky M.V., Roerich N.K., V.M. I am. Vasnetsov, V.D. Polenov, V.A. Serov, M.V. Nesterov, I.I. Levitan, I.A. Korovin, poets A. White, D. Merezhkovsky and Z. Gippius, Yu. F. Sologub, V. Bryusov, K. D. Balmont, choreographer S. P. Dyagilev and many others. The joint publication of the World of Art magazine attached particular importance to this trend of creative personalities, and the enthusiasm for the modern style – a bright art-dominant.
Being collected under the auspices of the World of Art magazine in 1903, the followers of the famous ballet producer Dyagilev, the author of the “Russian ballet seasons in Paris”, first expressed themselves through theatrical costumes and stage decorations. So Bakst and Benois, for example, became famous. Continue reading